El Anatsui

Blue Variation

2015

Kiss Cross is a 2006 lithograph with brightly colored hand sewn elements by dynamic duo Ghada Amer and Reza Farkhondeh. Kiss Cross is from an edition of 25 plus artist and printers p...

Listen measures 20 x 60 framed and is excellent condition. The elegant lithograph includes blue horse hair and tea stained paper, the unique use of mixed media is quintessential Dill...

Shield 1 is 1999 serigraph and etching by Mimmo Paladino. Shield 1 is from an edition of 20 plus artist and printers proofs. The work is signed in graphite by Paladino. The Italian a...

Constellations is a framed color lithograph, measures at 56.5 x 31.5 inches, is a small edition of 42 and printed on beautifully delicate Nepal Himalayan paper. Constellations was pr...

Atlantico VI (Skeleton) is a 1987 linoleum block print by Mimmo Paladino from the rare series of seven graphically charged prints, entitled Atlanico. Altanico VI is from an edition o...

Soviet / American Array II is a 1990 color intaglio by Robert Rauschenberg. Soviet / American Array II is part of a larger series entitled Soviet / American Array where Rauschenberg pairs pictures of the Soviet Union with those of the United States. Soviet / American Array II is from an edition of 55 plus artist and printers proofs. Soviet / American Array II is signed by Rauschenberg.

Babysitter, 2006 by Julie Blackmon is from her ongoing series Domestic Vacations. The Dutch proverb “a Jan Steen household” originated in the 17th century and is used today to refe...

Stolen Kiss is a color photograph by Julie Blackmon and is part of her ongoing series Domestic Vacations. Domestic Vacations: The Dutch proverb "a Jan Steen household" originated i...

Riverside, limited edition photograph, archival ink, signed and numbered Reviewing the photographs of Julie Blackmon, critic Leah Ollman of the Los Angeles Times wrote: “Each frame is an absorbing, meticulously orchestrated slice of ethnographic theater … that abounds with tender humor but also shrewdly subtle satire.” Blackmon is a native of Springfield, MO, and her photographs are inspired by her experience of growing up the oldest of nine children—including five sisters—in what she calls “a generic American town in the middle of the U.S.” In college, Blackmon was introduced to the work of artists Sally Mann, Diane Arbus, and Helen Levitt, and she describes herself as “obsessed” with their images. “When my three children were small,” she recalls, “we moved into an old house with a darkroom in the basement. Like any mother, I wanted to take pictures of my kids. But I didn’t want to be just the ‘mother photographer.’ I wanted my work to be more: more penetrating, more artful, more striking, more thoughtful, more a reflection of the times. “Over the next few years, I progressed from making documentary black and white photographs of my life and the lives of my sisters to creating colorful, fictitious images that offered a more fantastical look at everyday life. My work became more conceptual, as I began to realize that I was not obligated to capture “reality” exactly, but that I could work more like a painter or a filmmaker, actively shaping the images I was creating. This realization—that fiction can often capture the truth more memorably than reality—was a major shift in how I saw the world around me, and it transformed my work.” “It’s thrilling to see the most common aspects of everyday life as potential stories or themes for a photograph. It changes how you see things: suddenly, a Starbucks employee on a smoke break, or an outmoded beauty shop catering to an elderly clientele, can spark a memorable image. As Nora...

Slide by Julie Blackmon is from an ongoing series titled Home Grown According to the Los Angeles Times, Blackmon's images are “absorbing, meticulously orchestrated slices of ethnogr...

Reviewing the photographs of Julie Blackmon, critic Leah Ollman of the Los Angeles Times wrote: “Each frame is an absorbing, meticulously orchestrated slice of ethnographic theater … that abounds with tender humor but also shrewdly subtle satire.” Blackmon is a native of Springfield, MO, and her photographs are inspired by her experience of growing up the oldest of nine children—including five sisters—in what she calls “a generic American town in the middle of the U.S.” In college, Blackmon was introduced to the work of artists Sally Mann, Diane Arbus, and Helen Levitt, and she describes herself as “obsessed” with their images. “When my three children were small,” she recalls, “we moved into an old house with a darkroom in the basement. Like any mother, I wanted to take pictures of my kids. But I didn’t want to be just the ‘mother photographer.’ I wanted my work to be more: more penetrating, more artful, more striking, more thoughtful, more a reflection of the times. “Over the next few years, I progressed from making documentary black and white photographs of my life and the lives of my sisters to creating colorful, fictitious images that offered a more fantastical look at everyday life. My work became more conceptual, as I began to realize that I was not obligated to capture “reality” exactly, but that I could work more like a painter or a filmmaker, actively shaping the images I was creating. This realization—that fiction can often capture the truth more memorably than reality—was a major shift in how I saw the world around me, and it transformed my work.” “It’s thrilling to see the most common aspects of everyday life as potential stories or themes for a photograph. It changes how you see things: suddenly, a Starbucks employee on a smoke break, or an outmoded beauty shop catering to an elderly clientele, can spark a memorable image. As Nora Ephron...

Artist: Nikki Maloof Title: Dismemberment Size: 24 x 20 Inches Medium: Archival Pigment Print Edition: 3/25 Year: 2021 Notes: Hand Signed and Numbered by the Artist in Pencil. ...